Coppelia

Sara Webb and Randy Herrera danced superbly all night, capping it off with a brilliant grand pas de deux.

Coppelia is the kind of ballet little girls dream about — and not just because it has pretty costumes, gentle comedy and lots of action.

Leo Delibes’ sunny score gives it a buoyant magic — melodies that don’t ask much of the brain other than to let go and let the body and spirit move joyfully.

It’s “danceable” — it makes you feel like you, too, could be a ballerina.

At Thursday’s opening night show, Sara Webb was a big girl’s dream, too; technically brilliant and artistically spot on as the naughty Swanilda, who fools the crotchety old doll maker Dr. Coppelius into believing his favorite creation has come to life. She had it all — character, poise and speed — and she breezed through the second act’s Spanish and Scottish dances and displayed even more dazzling fireworks in the grand pas de deux, with its demanding pointe work and balances.

Randy Herrera, who has blossomed into the company’s smoothest male dancer, also had impeccable style as her playful fiancé, Franz — sailing through his showy solo in the grand pas de deux as if he’d been born doing barrel turns and entrechats.

Webb also had a good assist from the Houston Ballet Orchestra, directed by Ermanno Florio — with a highlight being an especially soulful violin solo during the climatic grand pas.

Ben Stevenson’s 1992 production still looks fresh, clearly conveying both parts of the plot: the Swanilda-Franz love story and the trick-the-toymaker reverie.

Historically, Coppelia — which debuted in Paris in 1870 — is a bridge between the romantic and classical eras of ballet. The story is a sweetened-up version of Der Sandmann — a macabre tale by E.T.A. Hoffman, whom many ballet goers know as the author of The Nutcracker.

Its origins kind of explain the bizarre divertissements that come out of left field in Act 3 before Swanilda and Franz’s wedding: the solos known as Dawn and Prayer, plus the Dance of the Hours, featuring ballerinas in glittery romantic tutus.

What the heck — isn’t all ballet about suspension of disbelief, anyway?

These dances and a few other moments of Coppelia seem like they’re in slow motion compared to the contemporary works Houston Ballet has staged lately, but it feels good to indulge a little. Kind of like sinking your teeth into a classic novel.

Melody Herrera danced Dawn with lyrical grace — her arms were especially airy — while Nao Kusuzaki brought languid beauty to Prayer. The Hours could have used a few more minutes of rehearsal; the company’s women — despite their lovely black tulle-covered costumes — weren’t entirely at the top of their classical game.

The corps looked sharper with Act 1’s Mazurka and Czardas. And Phillip Broomhead memorably portrayed bumbling charm in his role of Dr. Coppelius.

Coppelia repeats at 7:30 p.m. June 9, 15 and 16, with 2 p.m. shows June 10, 16 and 17 at the Wortham Theater Center, 501 Texas Avenue. Tickets are $17-$125 at www.houstonballet.org or 713-227-2787.

Casting is subject to change, but there’s quite a rotation, with numerous debuts in the leads. The current schedule features Webb and Herrera again June 16 (evening); Amy Fote and Connor Walsh June 9 and 15; Leticia Oliveira and Ian Casady June 10; Melody Herrera with Casady June 16 (matinee); and Sharon Teague with Walsh June 17.